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CATALOGUE OF
THE AVERY COLLECTION OF
ANCIENT CHINESE CLOISONNES
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MUSEUM OF THE
BROOKLYN INSTITUTE OF
ARTS AND SCIENCES
CATALOGUE OF
THE AVERY COLLECTION OF
ANCIENT CHINESE CLOISONNES
THE CATALOGUE BY
JOHN GETZ
THE PREFACE BY
WM. H. GOODYEAR
BROOKLYN, NEW YORK
1912
Freer Gallery of Art
Washington, D. C..
PRINTED FOR THE MUSEUM OF THE
BROOKLYN INSTITUTE OF
ARTS AND SCIENCES
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LIST OF ILLUSTRATIONS
No. PAGE
1.. . Large tripod censer .. ES OT ek ee ee a |
Reign of Tao- iain
2 . . Baluster-shaped vase . . ee ae ee a eee
Reign of Chia- criae
ee Uh n Sok ena AGEN Ehias AE Ded coh Resse ey Des me Te AS me LE eg
Reign of Ch’ien-lung
(Ol agNe Stra) nce). a be 2) uN MES caged AC el a a >
Reign of K’ang-hsi
Oi i) DACIIGiM En pat CONSE ao Ae yl Eh r ee hte wy
Ming dynasty
9 » oo. Veak-wood.and. €loisonné screen . §.-4 272° y > . #
Reign of Ch’ien-lung
11-15 . Grand shrine set ; ST ic ne Nae cub Dele? 2 9
Reign of Chien: fade
LOG. ut hy heiperral sweater entire ore Mk IS Rr ae ee iG
Reign of K’ang-hsi
Bi) i2f AOC TAG Omit UTE N alse n hes yh he UN. FY ecu da OTe
Reign of Ch’ien-lung
22. .-Covered shrine urn . . el Lae Cs eee ae ee
Reign of Ch’ien- Spe
25 . . Temple censer . yk 2 eee he tn ee Sd
Reign of Clien- Hane
icin ys, AVEIRO Ce bak Meee che ay Ware: Ces Ee! ay gl og MP od At Pei
Reign of Ch’ien-lung
Bt nay gle w exrea Te) Jian eMatavasoe es oe pit Tite MS has Lali
Ming dynasty
P07 ge, oy) Latee ‘beakereshaped vase his a. gig we . ey BO
Reign of K’ang-hsi
No.
38
40
41
42
43
4
45
46
47
48
D9
56
59
LIST OF ILLUSTRATIONS
Quadrilateral trumpet-shaped vase .
Probably reign of Yung-chéng
Tall quadrilateral vase .
Reign of K’ang-hsi
Tall quadrilateral beaker-shaped vase
Reign of Ch’ien-lung
Twin vases (Champion vase) .
Reign of Yung-chéng
See also color print on cover
Quadrilateral trumpet-shaped vase
Reign of Ch’ien-lung
Pear-shaped vase
Ming dynasty
Small pilgrim bottle
Ming dynasty
Dove-shaped altar wine vessel on wheels
Reign of K’ang-hsi
Pilgrim bottle vase
Probably reign of ane hei
Temple altar vase
Ming dynasty
Bottle-shaped vase
Reign of Ch’ien- aya
Octagonal gourd-shaped bottle
Reign of Ch’ien-lung
Quadrilateral vase
Reign of Ch’ien- hee
Teense. Wars clits 8h. weve
Reign of Yung-chéng
Large temple tripod censer
Reign of K’ang-hsi
Hexagonal lantern
Reign of Ch’ien- fanae
Bottle-shaped vase
Reign of wana-cheie:
PAGE
21
22
23
24
25
26
26
27
29
20
30
32
32
33
34
36
37
[ vi
No.
62
63
66
68
69
70
71
73
74
78
81
83
84
85
86
87
89
vii |
LIST OF ILLUSTRATIONS
Oviform vase .
Reign of eae fel
Drum-shaped garden seat .
Reign of K’ang-hsi
Lion-shaped incense burner
Reign of K’ang-hsi
Hexagonal vase
Reign of Ch’ien- Amhe
Trumpet-shaped vase
Reign of Ch’ien- Tee |
Duck-shaped incense burner
Reign of Yung-chéng
Sacred elephant bearing a vase
Reign of Ch’ien-lung
Large incense burner
Reign of Ch’ien- pez
Palace ice chest :
Reign of K’ang- he
Quadrilateral incense burner .
Reign of Ch’ien-lung
Quadrilateral incense burner
Reign of Ch’ien-lung
Pear-shaped vase
Ming dynasty
Hanging flower basket and stand .
Reign of Ch’ien-lung
Large tripod incense burner
Reign of Ch’ien-lung
Large tripod incense burner
Reign of Ch’ien-lung
Temple shrine :
Reign of Ch’ien- pane
Large incense burner :
Reign of Ch’ien-lung
PAGE
38
39
Al
42
43
41
44
AD5
46
47
49
49
LIST OF ILLUSTRATIONS
Large ewer Bhat
Ming dynasty
Buddhistic shrine vase . ‘
Reign of Ch’ien-lung
Cabinet vase
Ming weinsee:
Scroll vase ye fe,
Reign of K’ang-hsi
Jade table-screen framed in cloisonné
Reign of K’ang-hsi
Large bowl en Se
Reign of K’ang-hsi
Large fruit dish
Reign of Ch’ien- ee:
Large bowl ee ee
Reign of Yung-chéng
Large Buddhist sceptre
Reign of Ch’ien-lung
Large fruit bowl .
Reign of cielang.
Vase for incense utensils
Reign of K’ang-hsi
Mandarin hat stand .
Reign of Ghee.
Large screen panel .
Reign of Chitenaune
PAGE
[ viii
PREFACE
145 pieces, was presented to the Museum of the Brooklyn Institute
of Arts and Sciences by Mr. Samuel P. Avery, during the years
1909 and 1910. It is the most remarkable collection, on public exhibi-
tion, in the Western world, as regards the quality, number, and average
size of the exhibits.
The description of the individual pieces and their attributions as to
dynasty, reign, and date, have been prepared, or carefully revised, by
the eminent expert, Mr. John Getz.
The preliminary history of the art of cloisonné in China, which pres-
ently follows, is from the pen of the late Stephen W. Bushell, as pre-
pared by him for the South Kensington Museum publication on Chinese
Art (Third Edition, 1910).
Dr. Bushell was physician, for thirty years, to the British Embassy at
Peking, a member of the Council of the Royal Asiatic and Royal Numis-
matic Societies, and is known by general repute as having been the most
distinguished expert in Chinese art of our day. Dr. Bushell’s account is
here preceded by the following brief notes on enamels in general.
The basis of all enamels is an easily fusible colorless silicate or glass,
to which the desired color and the desired degree of opaqueness are
imparted by means of metallic oxides. The molten mass, after cooling,
is reduced to a fine powder and washed, and the moist paste is then
applied to a metal surface according to various methods to be presently
described; the whole is then exposed in a furnace (fired, as it is called)
till the enamel is melted, when it adheres firmly to the metal.
T: Avery Collection of ancient Chinese cloisonnés, consisting of
In the broadest and most universal sense, any vitreous glaze is an
enamel, whether it be applied to pottery, porcelain, or metal, but when
1 i
PREFACE
“enamels” are spoken of, it is those which are applied to a metal surface
which are generally understood. This metal surface may be gold, silver,
or copper. Copper has been most generally used in China.
The enamels which have been produced in recent centuries in Europe
CASE I. Nos. 1 To 7
are generally the so-called “painted enamels,” in which the enamel
colors are applied by a brush, with effects resembling those of an ordi-
nary painting. This art had its highest perfection at Limoges, in France,
during the 16th and 17th centuries, and was there used especially for
platters, plaques, caskets, reliquaries, and small shrines. The subjects
were very frequently taken from engravings or from other pictures.
After the decay of the Limoges school, in the late 17th century, the
[x
PREFACE
use of painted enamel was continued in France and England, during the
18th century, with modified and inferior methods, and in smaller ob-
jects, such as snuff-boxes, patch-boxes, candlesticks, and other small
articles. Miniatures were also made in painted enamel, and this 18th-
century style of enamel has been aptly called the “miniature style.” Its
main claim to importance over other minor pictorial art was that of
superior durability, and it took no high rank as decorative art. In fact,
the pictorial character of painted enamels is never favorable to decora-
tive effect. One of the points in favor of the earlier Limoges is that
monotones were largely used, especially greys (painting in grisaille).
The early part of the 19th century witnessed a revival, or survival, of
this miniature enamel style for small objects in England, but, generally
speaking, enamel painting has been practised in recent European art
only as an experiment, or in the production of costly and. isolated curi-
osities. In China, the art of painting in enamel has never been highly
esteemed or widely practised, and most Chinese productions of this
character, mainly of the 18th century, were originally inspired by
European examples and by efforts to meet the taste and demands of the
European market. The Avery Collection contains a sufficient number
of these pieces to serve as examples and contrasts to the more charac-
teristic styles of China.
Painted enamels, as being on the whole the least important, have been
mentioned first, as indicating the distinction which, in recent centuries,
generally separates the enamels of Europe from those of the far East.
Thus, the enamels of Europe, of later date than the middle ages, have
been generally painted, whereas in China they have been generally
cloisonné or champlevé. That is to say, they have been made on meth-
ods which correspond, in general, to those of old mosaics, or of medizval
stained glass, sharing the splendid decorative qualities and effects which
result, in those arts, from subordinating the pictorial to the decorative
character.
If enamels are not to be used as ordinary colors are in brush painting,
they must be separated by divisions, in each of which only a single
enamel color is used. The two various methods by which this separa-
tion may be effected are known by the French words cloisonné and
x1 |
PREFACE
champlevé. In champlevé enamels the patterns and designs are cut out
by graving tools and recessed in the metal surface. The divisions which
separate the enamels are therefore the ridges which remain between
the different recessed surfaces which hold the enamels. In cloisonné
Case II. Nos. 8 To 32
enamels the patterns and designs are formed by very thin and narrow
ribbons of metal, which are soldered on to the metal surface, and the
enamel pastes are then placed in the compartments which are thus
formed. Itis apparent that the champlevé method cannot easily reduce
the intermediate walls of the design to the very narrow and almost in-
visible breadth which is made possible by the previous preparation of
‘
[ xii
PREFACE
a very thin metal ribbon of uniform size, which is soldered on a uniform
surface. Thus champlevé enamel is generally confined in China to
decorative patterns, in which the greater width of the intermediate
walls of the pattern is a desirable decorative feature, on account of its
lines of gilt metal. The irregularities of the metallic bands or borders,
which remain after the other surfaces have been recessed, are also con-
tributory to the good decorative effect which the slight variations of
handwork from formal regularity always produce.
Several examples may be found in the Avery Collection in which
champlevé and cloisonné are used on the same piece; for instance, No.
25, Case II. The examination of this piece will illustrate the agreeable
decorative quality incident on the slight irregularities of the champlevé
bands of metal. It is easy to understand that the cloisonné method
allows of much greater freedom in design and of a decorative system in
which the really rigid divisions of linear outline may be wholly lost sight
of. Thus the wonderful patience and persistence of the Chinese artist-
artisan find their best illustrations in cloisonné, on account of its actually
rigid technical methods and the astonishing freedom which was achieved
within the apparently narrow limitations of this art.
Slight reflection will still farther make apparent the continued pa-
tience and dexterity which are demanded by both these systems of
enamelling. After the moist vitreous pastes have been inserted and then
fired in the furnace, a long and laborious process of grinding down, and
then gilding, the metal borders or ribbons is required, in order that the
enamels and the metal divisions may be brought to a uniform surface.
The following details as to the technical manufacture of cloisonné in
China have great interest and are an important supplement to the fore-
going brief and general description.
To prepare the vase a piece of copper is hammered out into the de-
sired shape, the surface being made smooth. Upon this copper base is
traced, with a brush, in India ink, the design to be executed, which has
been originally painted by an artist on paper or silk.
The thin wires or ribbons of gold, silver, or copper are placed edge-
wise upon the lines of the drawing, with great accuracy, in order to
make the cloisons.
xlii |]
PREFACE
The narrow metallic ribbon is cut into sections of various lengths and
curved into the forms required, exactly fitting the lines of the drawing.
In the more carefully made pieces the ribbons are not only bent, but
beaten with a hammer, so as to obtain varying thicknesses of lines, and
the ends of the wires are filed so as to ensure that they meet perfectly.
CAsE III. Nos. 33 To 43
The endless patience required, and the great difficulty involved, in
this preliminary part of the enameller’s art can be imagined when we
learn that it is not unusual to find more than one hundred pieces of
ribbon set in intricate designs in a space of one square inch. A vegetable
glue, made from the root of a species of orchid, is used to make the
pieces of ribbon adhere to the vase.
Powdered enamel, or solder-filings, are next sifted over the work,
[ xiv
PRETA CE
which is then subjected to a gentle heat, thus securing the cloisons.
Enamel pastes of various colors are then, with the aid of a bamboo pen,
forced into the cloisons formed by the wires, thus carrying out the de-
signs. Various successive firings are necessary, as some enamels do not
fuse as easily as others, and because different layers of enamels are
required to attain the desired effect. Finally the surface is polished
with stones of different grades of coarseness, then with powdered char-
coal, and, last of all, with hartshorn mixed with rape-seed oil.
Although the following historic account, from Dr. Bushell’s pen, of the
introduction of enamelling into China, will show that the art was not
originally a native invention, it may still be said that cloisonné is a
wholly characteristic national Chinese art, in every sense. The designs
and color schemes are distinctively Chinese and foreign influence was
only apparent, as regards historic pieces, in the painted or Canton
enamels (also known as Peking enamels). Moreover, the general his-
tory of the rise and decline of the cloisonné art corresponds to that of
the Chinese porcelains, as regards the essential features and excellen-
cies of both arts.
In both porcelains and cloisonnés we find the same splendid sense for
color, and for the possibilities of its decorative contrasts, which makes
the Chinese art so superior, on the whole, to European decorative art of
the corresponding centuries, and especially when European decorative
art of the present century, or of the 19th century, is compared with
Chinese decorative art of the 18th, 17th, and 16th centuries, or those of
still earlier time.
Again, we find, both in porcelain and in cloisonné, that same general
point of view which recognizes the Ming period as the greatest, and its
pieces as being the rarest and the most important; while the K’ang-hsi
era is only a grade less important, when pieces of the very highest qual-
ity are compared, and often in other cases quite equal to the Ming. In
cloisonnés, as in porcelains, the Ch’ien-lung era, which is the last of the
great historic periods, is distinguished for technical excellence of execu-
tion, but its best pieces are those which approach most nearly to the
color schemes and low-toned harmonies of the older dates (and this they
appear to do more often in cloisonné than in porcelain).
In the last half of the 19th century, the Chinese do not appear to have
xv |
PREDPACE
produced much in cloisonné of importance, and the art, as far as prac-
tised, shows a relative deterioration which was mainly due to European
influence. The recent production in Japan has apparently increased in
amount but has retrograded in effects of color harmony. The corrupting
Case IV. Nos. 44 To 63
influences of Europe are most especially apparent in the commercial
cloisonnés of modern Japan, whose older pieces are occasionally of some
importance, but never equal to the best Chinese.
The designations of the Chinese periods as Ming, K’ang-hsi, and Ch’ien-
lung are more easily remembered when we relate them broadly to a
sequence of periods respectively of the 14th, 15th, and 16th centuries
(Ming); of the late 17th and early 18th centuries (K’ang-hsi); and the
[ xvi
PREFACE
18th century (Clien-lung). It should also be considered that the word
Ming refers to a dynasty, although most of its cloisonnés appear to date
from a single reign, that of Ch’ing-t’ai (1450-1456). On the other hand,
K’ang-hsi (1662-1722) and Ch’ien-lung (1736-1795) were individual
kings of the recently reigning Manchu or Ch’ing dynasty, which suc-
ceeded the Ming dynasty in 1644.
The reign of Yung-chéng (1723-1735) was intermediate between that
of K’ang-hsi and Clvien-lung, but appears less frequently in the desig-
nation of periods.
Although the foregoing remarks as to dates and periods will appear
extremely commonplace to experts in Chinese porcelain, they may be of
service to the general public. Some of the points developed in this
preface will also be rehearsed in the historic account by Dr. Bushell
which is next quoted. This part of the preface may be closed with the
remark that enamelled inlays were certainly employed in ancient Egypt,
especially in gold jewelry. In the Byzantine, or late Greco-Roman, pe-
riod (5th to 15th centuries, inclusive) the art of enamelling existed in the
highest perfection, but its surviving remains are of extreme rarity.
Among them may be mentioned the famous Pala d’Oro, or altar front,
in St. Mark’s at Venice, which is of Byzantine workmanship. Most of
the Byzantine enamels were executed on plates of gold, and this will
explain the destruction which has befallen them. The manner in which
this Byzantine art was borrowed by China is described more fully by
Dr. Bushell in the following extract from his hand-book on Chinese Art,
which was prepared for the South Kensington Museum: !
“The art of enamelling seems to have been invented at a very remote
date in Western Asia, and to have penetrated to Europe, as far east even
as Ireland, in the early centuries. of the Christian era, but there is no
evidence of its having travelled eastwards to China till much later. The
Chinese themselves do not claim the independent invention of the art,
which they trace back to Constantinople, while they generally ascribe
its introduction into their own country to the Arabs as intermedi-
cNGik ec eae
1 Chinese Art, by Stephen W. Bushell. Two vols. London: Printed for his
Majesty’s Stationery Office by Eyre & Spottiswoode, Ltd., 1910. (Series of the
Board of Education, Victoria and Albert Museum.)
XVil ]
PREFACE
“Byzantium was, it is well known, the great seat of the industry of
enamelling in the middle ages, and important relics of their work in
champlevé, as well as in cloisonné enamels, are still extant. The work
there is said to date back at least to the time of Justinian. . . . The art
CAsE V. Nos. 64 To 82
was practised in Constantinople until the fourteenth century, but in the
meantime events occurred there which led to the dispersal of the
enamellers to all parts of the world, east as well as west. It was at this
time, doubtless, that it reached the northern borders of China, probably
through Armenia and Persia. The thirteenth century was the period
when the conquest of nearly the whole of Asia and part of eastern
Europe by the Mongols opened up a way for the introduction of new
[ xvili
PREFACE
industrial arts, and there is reason to believe that the art of enamelling
was first practised in China about this time. .. .
“The art of enamelling was brought independently to the south of
China by the Arabs a century or more later, when we first hear of the
Ta Shih Yao, or Arabian enamelled ware, and are told that it resembled
the Fo-lang Chien, the ‘Byzantine incrusted work.’ This record proves
that the cloisonné enamels of Constantinople were already known in the
fourteenth century to the Chinese, and available for comparison with
the enamels brought to China at the time by the Arab ships. The Chi-
nese thus learned the cloisonné art from a succession of workmen trav-
elling across the whole of Asia and setting up workshops in the great
towns they visited, just as did, under nearly the same conditions, the
small colonies of Syrian craftsmen who overran France during the
Merovingian epoch, and introduced there in the same way various
Byzantine methods of work. The careful study of the most ancient
Chinese cloisonnés reveals intrinsic proofs of their western origin. .. .
“The enamel work of the Ming dynasty (1368-1643), speaking gener-
ally, is characterized by a boldness of design and breadth of treatment
which have never been surpassed, combined with a striking depth and
purity of colouring. There are two well contrasted shades of blue: a
dark blue of lapis-lazuli tone without the dulness of washing blue, and
a pale sky-blue with the slightest tinge of green. The red is of dark
coral tint rather than brickdust, the yellow full-bodied and pure. Greens
derived from copper are sparingly used, rouges dor are entirely absent
from their scheme of decoration. Black and white give the worst re-
sults: the former fails in depth and lustre, the latter is generally clouded
and muddy. The general effect of the decoration is wonderfully suc-
cessful, but at the same time a more minute examination will reveal
minor flaws due to imperfect technique, a certain want of polish in the
surface, and a tendency to become pitted with minute holes in the
enamels. The last defect, so frequent in early enamels, was remedied
later by repeated fusion in successive firings, at the risk always of some
deterioration in the original brilliancy of the colouring.
“Under the present Ch’ing dynasty the reigns of K’ang-hsi, Yung-
chéng, and Ch’ien-lung are distinguished for the excellence of their
mix |
PREFACE
enamels. The works of K’ang-hsi (1662-1722), while improving in tech-
nical finish, retain something of the boldness of design and robust col-
ouring of the Ming dynasty. The style is simple and broad, the colouring
pure and rich, the execution strong and original. Fine specimens are to
CASE VI. Nos. 83 To 89
be seen in many of the Buddhist temples in the neighbourhood of Peking,
which were founded under the patronage of the emperor during his long
reign, as it was his usual practice to have the sets of incense vessels re-
quired for the shrines made of cloisonné enamels at the palace works
for presentation to the temple at its inauguration. ... The enamel
ip. 8.4
PREFACE
work of Yung-chéng (1723-1735) does not differ materially from that
of his predecessor. .. .
“Cloisonné enamels of the Ch’ien-lung period (1736-1795) manifest a
certain improvement in technical finish in every detail. The models are
well chosen and the scheme of decoration is generally worthy of the
form. There is no pitting of the surface, the colours, if not so vivid and
lustrous as of old, are harmoniously combined, and the bronze acces-
sories often mounted on the pieces are heavily and richly gilded. This
last point is useful as a means of distinction of the modern enamels of
Peking workshops, which are not only made more hurriedly and less
carefully finished, but are sparingly gilded with the help of an electric
battery, instead of being lavishly coated with concentrated amalgams
of gold fixed in the fire... .
“Painted enamels on copper are generally known to the Chinese as
Yang Ts’ti, literally ‘foreign porcelain,’ indicating the introduction of
the art from abroad. They are also often known as ‘Canton enamels,’
the city of Canton being the great centre of their manufacture. Porce-
lain as well as copper was, and is still, decorated in the workshops of
Canton, brought overland ‘in the white’ from Ching-té-chén, to be
painted with the same palette of enamel colours, but this, curiously, is
not called Yang Ts’t; it is known by the distinctive name of Yang Ts’ai,
literally ‘foreign colours,’ the word porcelain being understood.
“The technique of painted Chinese enamels on copper is precisely
similar to that of Limoges enamels in France, and of Battersea enamels
in England. Limoges enamels were actually taken to China by the early
French missionaries to be copied, and the motives of decoration used in
the Chinese enamels often betray signs of their influence. The epoch .
alluded to is that of Louis XIV, contemporary with the Emperor K’ang-
hsi; more especially from 1685 to 1719, the period of the Compagnie de
la Chine founded by Mazarin, when table service with the arms of
France, de Penthiévre, and others, and a quantity of other objects, were
ordered by the French and executed at Canton. Many similar commis-
sions were sent out, about the same time, for services of ‘armorial china’
and the like, from England, Holland, and other countries, which were
Xxi |
PREFACE
executed with rare fidelity by the Cantonese workmen, and brought to
Europe by the ships of the Dutch and English East India Companies.
The objects were enamelled on porcelain as well as on copper, and some
of the service would occasionally include both excipients in the same
CAsE VII. Nos. 90 ro 145
set, an urn for hot water, and a tea-pot enamelled on copper, for ex-
ample, being accompanied by a milk-jug, sugar-bowl, and tea-cups
enamelled on egg-shell porcelain. A curious bowl is figured in Du
Sartel’s La Porcelaine de Chine (page 115) as an example of the sur-
passing skill of the Chinese in their imitations of Limoges enamels at
this time. It is a shallow bowl with loop handles of fine and light por-
celain, formerly in the Marquis Collection at Paris, which is described
[ xxi
PREFACE
as a most deceptive imitation, both in shape and decoration, of the piece
of Limoges enamel which served as its model in China. .
“Passing on from the earlier famille verte style to the famille rose
decoration of Chinese ceramic art, the remarkable similarity of the mo-
tives of decoration and of the enamel colouring of some of the painted
enamels on copper with those of contemporary pieces of the kind fash-
ioned in egg-shell porcelain is indeed sufficient to prove them produc-
tions of the same workshops. Round dishes and plates occur in the two
materials backed with the same rose-coloured grounds, and decorated
with identically brocaded patterns and diapered bands, interrupted by
foliated panels filled with precisely similar pictures, all executed in the
same soft-coloured enamels. .. .
“Enamel painting on copper was stigmatized from the first as a for-
eign art by the Chinese, and it has never taken firm root in the country.
Even in Canton it has gradually died out, so that nothing of any im-
portance has been produced since the reign of Ch’ien-lung, which closed
im £7495."
The seven cases containing the Avery Cloisonné Collection in the
Eastern Square Gallery, first floor, of the Museum are numbered as fol-
lows: No. 1 stands in the centre of the room; No. 2 is the first case on the
left of the entrance door (northeast corner of the room); Nos. 3, 4, 5, 6,
7 follow, in sequent order, in making the round of the room from left to
right. In the cases with shelves, the numbers begin on the highest shelf
and follow in sequence from left to right, then descending to the next
lower shelf, with arrangement in the same order. Thus the adjacent
numbers are always placed in sequence, and any given number may
easily be found.
The following list shows what numbers are to be found in each case:
Case I contains numbers 1-7.
Case II contains numbers 8-32.
Case III contains numbers 33-43.
Case IV contains numbers 44-63.
Case V contains numbers 64-82.
Case VI contains numbers 83-89.
Case VII contains numbers 90-145.
XxXili |
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No.
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CATALOGUE
1. LARGE TRIPOD CENSER. (Hsiang-lu.) Cloisonné and champ-
levé enamel. Octagonal shape; with archaic sceptre-shaped handles,
showing fungi-formed “ju-i” head panels, on which appear “shou”
marks (signifying longevity), encircled by five small bats or “wu-fu”
(the superlative of as many blessings); executed alternately in
champlevé enamel and gilt bronze. The bulbous body stands on three
legs, whose upper ends are crowned by similar panels, and is decorated
in bright enamels on turquoise-blue ground, with conventional ara-
besques and lotuses. These are divided into panels by deep lapis-blue
bordering in archaic angular design. The enamel cover, with circular
“shou” emblems in gilt bronze open-work, is surmounted by a gilt bronze
finial with champlevé enamel arabesques. Era of Tao-kuang, 1821-1850.
Height, 36 inches.
2. BALUSTER-SHAPED VASE. (Ta-p’ing.) Cloisonné and champ-
levé enamel. Mandarin shape, with vertical divisions displaying nu-
merous lapis-blue dragon medallions amid lotus flowers and scrolling
leafage in green, red, and yellow enamel colors, on a turquoise-blue
ground. Shoulder with scolloped bordering in lapis-blue, which is fol-
lowed by a green angular fretting at the neck. Gilt bronze stand. Era
of Chia-ch’ing, 1796-1820.
Height, with stand, 23 inches.
3. TRIPOD CENSER.! (Hsiang-lu.) Of globular shape, with gilt
bronze phenix (féng-huang) bird handles and three dragon-fish feet.
The body, with turquoise-blue ground, shows circular “ch’ien” medal-
1 Where no reference is made to the character of the enamel, as is the case in
the majority of the descriptions, it is to be understood that the piece is cloisonne.
When champlevé is used this is specified, and when both champlevé and cloisonné
are used, both are specified.
3]
RN CIENTS “CHINESE CHOTSONNES
lions (symbols of wealth) in light green, together with blossoms and
scrolling arabesque motives in polychrome colors, including light rose
tints. The cover, with similar designs, is surmounted by a finial with
open-work floral design in
gilt bronze. Carved teak
stand. Ch’ien-lung period,
1736-1795.
Height, 15% inches.
4. LARGE BOTTLE.
(Ta wen hu.) Of bulbous
shape with small fruit-
shaped handles, or “ears”
(Chinese term). The neck
displays various floral and
arabesque borders, includ-
ing lotus-pod design in gilt
bronze, fish and sea-weeds,
in bright enamel colors on
blue ground. The lower
section of the body is cov-
ered with large lotus leaves
in blue and green enamel
tones, showing delicate wire
outlining. Gilt teak stand.
K’ang-hsi period, 1662-1722.
Height, 1814 inches.
5. TALL VASE. (Ma-ti
ping.) Oviform body, with
trumpet-shaped neck and
spreading base; decorated
with four rampant dragons,
alternately in blue and yel-
low, with red, amid conven-
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No. 7
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ANCIENT CHINESE CLOISONNES
tional cloud and scroll forms, in varied enamel colors on light blue
ground. The bulbous neck is ornamented with red and yellow flowers,
and green leafage, on a blue ground, which shows wire cloison work in
continuous scrolling forms. The base is finished in cloisonné arabesque
enamel, with chased and gilt bands. The foot bears six marks of the
K’ang-hsi period, but the piece was probably made in the era of Ch’ien-
lung, 1736-1795.
Height, 18 inches.
6. CABINET BOTTLE.
(Hua ping.) Bulbous
form with gilt sceptre-
shaped handles. The
body is decorated with
peony flowers and _ or-
chids, with leafage, in
natural tones on_ tur-
quoise-blue ground. The
neck is finished with
“key-fret” borders, scroll-
ing foliage and_ lotus
flowers, in various enamel
colors, matching the body.
Gilt bronze repoussé
stand, with champlevé
enamel designs. Ch’ien-
lung period, 1736-1795.
No. 8 Height, with stand,
13 inches.
7. TALL VASE. (Ta-p’ing.) Oviform, with slightly contracted neck
and base. The decoration displays archaic lineaments of “t’ao-tieh yen”
(ogre-masks), outlined in deep lapis-blue enamel, relieved by yellow,
on turquoise-blue ground. Archaic leaf forms encircle the neck, below
which is a band of light green dragons on a deep blue ground, and a
[6
CA
ANCIENT CHINESE CLOISONNES
second dragon border of deep blue dragons on turquoise ground finishes
the base. K’ang-hsi period, 1662-1722. ; :
Height, 1714 inches.
8. SACRIFICIAL TRIPOD-CENSER. (Ting-lu.) Cloisonné and
champlevé enamel. The shallow bowl-shaped body, with turquoise-
blue ground, is ornamented with lotus blossoms and leafy scrolls, to-
gether with white-eyed ogre (mask-like) lineaments, or “tao-tieh yen,”
which are separated by vertical dentated brass ridges or arétes. The
arched handles and dragon-formed feet display champlevé embellish-
ment in deep lapis-blue and turquoise-blue enamels. Ming dynasty,
1368-1643. : :
Height, 11 inches.
9. TEAK-WOOD SCREEN WITH CLOISONNE PANEL. (P’ing
feng.) The cloison design, with diapered blue ground, shows various
Mandarin objects with symbolic significance, in bright colors—notably
the vase bearing “shou” characters and holding peony flowers, the jar
with emblems and brushes, the small vase and coral stem, and the twin
fish and peaches. These allegorically embrace a chapter of happy
augury, long life, official honors, and happiness. Ch’ien-lung period,
1736-1795. .
Height, 31 inches.
10. COVERED BRAZIER. (T’ung-chiang.) Bowl form; raised upon
small spreading base and with pendent handles. A delicate floral ara-
besque design, on turquoise-blue ground, surrounds a series of bats to-
gether with “fu” characters; representing emblematically the “wu-fu,”
or five forms of happiness. The top, decorated with bats, and cresting
in form of white cranes, together with leafy scrolls, is surmounted by a
supplementary cover of Persian etched brass. Teak stand. Era of Yung-
chéng, 1723-1735. Height, 9 inches.
11-15. GRAND SHRINE SET. (Wu kung shih.) Champlevé enamel
on gilt bronze; with carved and reticulated white jade panelling. Era of
Ch’ien-lung, 1736-1795. The set comprises:
[8
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AVERY COLLECTION OF
OBLONG CENSER. (Hsiang-lu.) With upright handles, and
raised on four feet, buttressed on the corners and sides with gilt
bronze arétes, in the form of vertical dentated ribs. The carved
jade panels show archaic dragon forms, amid reticulated floral
scroll work. The oblong
cover has jade panels sur-
mounted by gilt bronze
open-work, with finial.
Carved teak stand.
Height, 18% inches.
TWO SQUARE BEAK-
ERS. (Hua-ku.) Match-
ing the censer, and
supporting clustered
branches of emblematic
fungus, in gilt bronze;
these bear nine semi-
precious stones (in the
form of fruit) including
carnelian, agate, jade,
crystal quartz, and lapis-
lazuli. Carved teak
stands.
Height, 201% inches.
TWO SQUARE CAN-
DLESTICKS. (Chu-t’ai.)
Matching the censer and
supporting gilt bronze
ornaments of cylindrical
shape, with cone-shaped finials, which serve as covers for the candle
prickets. Carved teak stands.
Height, 24% inches.
16. IMPERIAL WATER BOTTLE. (Shui-p’ing.) Globular body with
tubular neck and bulbous top; decorated with conventional lotus flowers
[10
ANCIENT CHINESE CLOISONNES
and leafy scrolls in blue, red, green, and white enamel, upon a ground
of Imperial yellow. The remaining decoration consists of lanceolated
and palm-leaf borderings in varied colors, including brilliant lapis-blue.
Teak stand. K’ang-hsi period, 1662-1722.
Height, 12% inches.
17. BUDDHIST TEMPLE ORNAMENT OR STUPA. (Fa-lan tai.)
On square pedestal, with gilt bronze gallery. The oviform body (with
gilt lion-heads, bordering and trappings) presents a light blue ground,
filled with conventional floral and scroll designs in light enamel coloring.
Above this rises a column with contiguous blue-enamelled rings which
support a fringed canopy (san) and crescent, with an emblem in gilt
bronze and red enamel. Ch’ien-lung period, 1736-1795.
Height, 18% inches; base, 714 inches.
18. COVERED SHRINE URN. (Hsiang-yi.) Of globular form, with
curved bronze handles and spreading base and cover. Embellished with
Buddhistic emblems (Pa-chi-hsiang) of happy augury, in varied light
colors, upon a ground of turquoise-blue, with narrow borders in poly-
chrome enamel colors. The cover is tipped by a red and green lotus
pod, resting on gilt bronze leafage. The bronze handles are inlaid with
red champlevé enamel. Ch’ien-lung period, 1736-1795.
Height, 9% inches.
19. CABINET BOTTLE. (Hua p’ing.) Compressed body, with slen-
der neck and wide upper rim; the lower section displays conventional
lotus flowers and arabesque scrolls, in various enamel colors on a ground
of turquoise-blue. The shoulder displays a series of “t(ao-Vieh yen,” or
gluttonous ogre masks, outlined on the blue ground. The neck is fin-
ished with archaic dragon forms, and bands in deep lapis-blue. Teak
stand. K’ang-hsi period, 1662-1722.
Height, 6 inches.
20. FLAT OCTAGONAL BOTTLE. (Hu lu p’ing.) With small
spreading base and truncated cubical top. The octagonal panels on
either side display numerous butterflies and blossoms, in light enamel
splat
20
No.
(ore
ANCIENT CHINESE CLOISONNES
colors with delicately wired outlining, on blue ground, and the oblong
side panels are decorated with floral and archaic motives, alternately on
white and blue enamelled grounds. The neck is ornamented with
arabesque scrolls on yellow ground, to match the base; the truncated
top, with diamond-shaped panels, displays four Buddhist emblems of
happy augury, together with arabesque designs on yellow ground.
Cl’ien-lung period, 1736-1795. ;
Height, 15 inches.
21. OBLONG BOX. (Fang-
ho.) The panel of the cover
shows a vase with emblems,
on turquoise-blue ground; an Lor ex
framed by a border of sym- 4%
bolic fruit, lotus blossoms, (pi
and scrolls, together with ar-
chaic angular corner motives.
The sides display similar de-
signs and coloring. Teak
stand. Era of Yung-chéng,
1720-1759:
Height, 114 inches.
22. COVERED SHRINE
URN. (Hsiang-yi.) Of globu-
lar form, with curved handles
and spreading base; embel-
lished with flowering plants
and borders, in various light
enamel colors upon a ground of pure white. The cover is topped by a
red and green lotus pod resting on gilt bronze leafage. The bronze han-
dles are inlaid with red champlevé enamel. Ch’ien-lung period, 1736-
1795. ; :
Height, 10 inches.
23. INCENSE URN, WITH COVER. (Hsiang-l.) Of massive bowl
shape, displaying conventional lotus flowers and leafy scrolls in light
13 |
No. 25
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ANCIENT CHINESE CLOISONNES
enamel colors on a turquoise-blue ground. The base has a border with
an archaic angular design. The top of the cover has a similar border on
a ground of white and is surmounted by a chased gilt bronze lotus bud
and Buddhist flame emblem. Teak stand. Era of K’ang-hsi, 1662-1722.
Height, 6% inches.
24. GOURD-SHAPED BOTTLE. (Hu lu p’ing.) With bulbous neck
and sceptre-head handles. The cloisonné embellishment, with tur-
quoise-blue ground, sustains large peony flowers and leafy scrolls, in
bright colors. The decoration is completed at the base by a scolloped
border, which reveals “shou” characters of longevity, together with bat
emblems of happiness. Attributable to the late Ming or early K’ang-hsi
period, seventeenth century.
Height, 13% inches.
25. TEMPLE CENSER. (Fang-hsiang-yi.) Chinese cloisonné and
champlevé enamel. Oblong shape, with curved enamelled handles and
four high feet. Each side has a panel with archaic dragon forms, in
India red and lapis-blue, on pale turquoise ground; enclosed by a “key-
fret” (lei-wen) enamelled border. The open-work cover displays archaic
angular motives, in red and blue champlevé enamelling, and is sur-
mounted by a gilt bronze “Fu-lion,” or “Shih.” Ch’ien-lung period,
1736-1795.
Height, 14 inches.
26. LARGE SCREEN PANEL. (P’ing feng.) With deep turquoise-
blue ground; in the centre is an ornament in emblematic bat and tassel
design. The remaining surface is filled with archaic angular dragon
forms and dark blue blossoms and leafy scrolls in various light colors;
framed by a bordering of archaic design, in brilliant lapis-blue and
green enamel colors. Ch’ien-lung period, 1736-1795.
Size, 16 x 30 inches.
27-31. SHRINE SET. (Wu kung shih.) Gilt bronze and cloisonné
enamel. Era of Ch’ien-lung, 1736-1795. Comprising:
Ales yea
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ANCIENT CHINESE CLOISONNES
CENSER-TRIPOD. (Hsiang-lu.) With gilt bronze mounting, rim
handles and original cover. The cloisonné motives include a bor-
dering of archaic, mask-like lineaments known as “t’ao-tieh yen,”
or gluttonous ogres, alternating with eight gilt bronze bosses or
rosettes. These are followed below by a border of green palm leaves
with archaic ornaments, on a blue diapered ground showing red
flowering. The three feet display similar latticed diaper and archaic
forms. The cover is of gilt bronze open-work surrounding cloi-
sonné panels and is topped by an open-work gilt bronze finial in
form of a coiled dragon, amid cloud forms. Carved teak stand.
Height, 16 inches.
PAIR OF TALL BEAKERS. (Hua-ku.) With small ovoid bodies,
slender trumpet-shaped necks, and spreading bases. Decorated on
the neck and base with long green palm-leaf bordering which en-
closes archaic ornaments in lapis-blue, on a ground of turquoise.
The ovoid centre section is divided into four vertical compartments,
each showing lotus blossoms in India red, yellow, and white, sur-
rounded by arabesque scrolls. The upper and lower rims are fin-
ished with engraved fret bands (lei-wen). Carved teak stands.
Height, 17% inches.
PAIR OF PRICKET CANDLESTICKS. (Chu-t’ai.) With ara-
besque scrolls and conventional lotus blossoms matching the beakers.
Height, 1514 inches.
32. TALL CHINESE JARDINIERE. (Hua-p’en.) Painted Peking
enamel on copper. Of hexagonal shape, on a low base. The delicate
enamel painting shows floral medallions with stellated bordering, and
the remaining field is filled with green scrolling vines, partly inlaid with
gold on brilliant lapis-blue ground. Carved teak-wood cover with lapis-
lazuli knob. Teak stand. Ch’ien-lung period, 1736-1795.
Height, 111% inches.
Lye
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ANCIENT CHINESE CLOISONNES
33. TALL QUADRILATERAL VASE. (Fang p’ing.) With bold flar-
ing mouth and slightly spreading base, which have vertical dentilated
ridges in gilt bronze. The decoration, in various enamel colors on a
turquoise ground, consists of archaic scrolls, ogre heads, palmettes and
floriated patterns. Mark: Ching-t’ai nien-chih (1450-1456). Ming dy-
nasty. Carved teak stand. Height, 24% inches.
34. CLOISONNE SCEPTRE. (Ju-i.) A conventional form of cere-
monial wand. Its head-piece is derived from the sacred mushroom.
Mounted with three white jade oval panels, carved with reliefs of a man
in a boat. The cloison design is enamelled with scrolls and floral orna-
ments in dark blue, green, red, and white, on turquoise ground. Ch’ien-
lung period, 1736-1795. Length, 19% inches.
35. GRAND IMPERIAL VASE. (Ta shu fu p’ing.) Beaker-shaped; in
five sections, with archaic gilt bronze dragon and pheenix handles, richly
studded with semi-precious stones. Trumpet-shaped neck, with tur-
quoise-blue enamel ground, sustaining chrysanthemum flowers and
varied border motives in typical Ming colors; the bulbous body below
presents a similar turquoise-blue ground, with conventional lotus flow-
ers and scrolling vines, interspersed with the familiar eight Buddhist
emblems (pa chi-hsiang) of happy omen. The shoulder, finished by a
deep blue lanceolated bordering, supports three projecting gilt bronze
pheenix birds, with studding of semi-precious stones, matching the two
dragon handles at the neck. The vase, raised upon three gilt bronze
winged lions, rests upon a cloisonné stand, which bears a circular “shou”
character in dark blue, surrounded by conventional lotus flowers and
leafy scrolls in characteristic colors of its period. A homogeneous en-
semble is presented, with great decorative force. Special mark (sur-
rounded by dragons), reading: “Ta Ming Ching-t’ai nien-chih,” made in
the reign of Emperor Ch’ing-tai (1450-1456) of the great Ming dynasty.
From the palace of the Empress at Peking.
Total height, 41% inches; diameter, 22 inches.
36. LARGE BEAKER-SHAPED VASE. (Hua-ku.) With bold flaring
mouth and vertical dentilated gilt bronze ridges which project at the
19]
ANCIENT CHINESE CLOISONNES
mouth and base. Decorated with floriated ornament, archaic scrolls,
and palmettes copied from archaic bronzes, which are executed in colors
characteristic of the Ming dynasty. The piece should be attributed,
however, to the K’ang-hsi
_ period, 1662-1722. Carved
oes teak stand.
Height, 2114 inches.
wh QUADRILATERAL
TRUMPET-SHAPED VASE.
(Tang-ku-p’ing.) With ver-
tical dentilated corners of :
gilt bronze. The decoration
is similar to that of ancient
bronze vessels; t’ao-tieh
(ogre). eyes, -and . cloud
forms. The neck and foot
borders are frets and palm
leaves in various enamels
of bright tones on a_tur-
quoise-blue ground. Ming
dynasty. Mark: Ching-t’ai
nien-chih (1450-1456). Teak
stand.
Height, 1314 inches.
= aes 38. QUADRILATERAL
N@w36 TRUMPET-SHAPED VASE.
(Ta fang p’ing.) Patterned on an ancient bronze design, and buttressed
with eight gilt bronze “fei-chi,” or vertical dentilated ribs. The decoration
is hieratic; the prevailing colors are deep cobalt-blue, deep coral-red,
green, pink, yellow, and white, displayed upon a background of tur-
quoise tint. Carved stand. Ming dynasty type, but attributable to the
era of Yung-chéng, 1723-1735.
; Height, 24% inches.
[ 20
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:
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ANCIENT. CHINESE. CLOTISONNES
39. FOOT-WARMER. (K’ao-puo-je.) Of flat oblong shape. The
top is enamelled with rocks and flowering shrubs, in brilliant colors, on
a bright turquoise-blue ground,
relieved by a wired swastika pat-
tern fretting. On the sides is a bor-
der of conventional lotus flowers
and scrolls. Ch’ien-lung period,
1736-1795.
10 x 6% inches, 2 inches high.
40. TALL QUADRILATERAL
VASE. (Fang p’ing.) With trum-
pet-shaped neck. Each oblong side
is outlined in gilt bronze, and deco-
rated with household utensils and
objects of art, in low tones of red,
blue, yellow, and brown, on a tur-
quoise-blue ground. Cloison wir-
ing to resemble porcelain crackle.
The mark “Ching-t’ai nien-chih”
(made in the reign of Ching T’ai,
1450-1456) is probably apocryphal,
the piece being either of the later
Ming dynasty (1368-1643) or of
the early K’ang-hsi period (1662—
1722). Carved teak stand.
Height, 21% inches.
41. TALL QUADRILATERAL
BEAKER-SHAPED VASE. (Ta
fang ping.) Patterned after an
ancient bronze vase; with vertical
dentilated ridges on the edges in
gilt bronze; enamelled with hieratic designs in bright colors on a tur-
quoise-blue ground. Ch’ien-lung period, 1736-1795. Height, 30 inches.
[22
No. 40
No. 41
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No. 42
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ANCIENT CHINESE CLOISONNES
42. TWIN VASES. (Arrow receptacle stand—Chien tung, called also
Ying-hsiung.) Two tall hexagonal vases, standing side by side, are
joined by two chased gilt bronze ornaments, one in the shape of a lion,
with a grotesque eagle perched upon its head; the other, which is found
on the reverse side (see color print on the cover), is in the shape of a
fire dragon; emblems of the powers and strength of the sky, the earth,
and the air. The vases are enamelled in green, and decorated with
cloisonné flowers and leaves and a lattice pattern executed in low tones
of enamel. This rare specimen follows the model of the earliest bronze
arrow stands which were presented as re-
wards to champions or warriors of distinc-
tion. Carved stand. Era of Yung-chéng,
9
1725-1735: Height, 25% inches.
43. VASE. (Hua-ku-p’ing.) Quadri-
lateral trumpet shape, with vertical den-
tilated gilt bronze ridges at the angles. The
decoration is hieratic, with floral scrolls
in the midst of which are t’ao-tieh (ogre)
eyes in dark blue, pale green, white, and
red enamels on a turquoise-blue ground.
The rim and base are incised with bands of
fret. Teak stand. Clvien-lung period,
1736-1795.
Height, 14 inches.
44, PEAR-SHAPED VASE. (Hua-p’ing.) With spreading mouth
and base. The body is divided by floriated bands into five horizontal
sections, which are filled with lotus designs and leaf scrolls in red, green,
white, brown, and yellow enamels on a turquoise ground. Close of the
Ming dynasty, 1368-1643. Height, 14 inches.
45. SMALL PILGRIM BOTTLE. (Pao-yueh-p’ing.) Decorated with
lotus designs in dark blue and red enamels on turquoise-blue ground.
25° |
No. 45
No. 44
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ANCIENT CHINESE CLOISONNES
Hangs on an elaborately carved stand by a chain which is attached to
an emblematic metal butterfly, which is inlaid with semi-precious stones.
Ming dynasty, 1368-1643.
Height, 5% inches.
46. DOVE-SHAPED ALTAR WINE VESSEL ON WHEELS. (Chiu
ch’é tsun.) Patterned after the bronze vessels, called “chiu ch’é tsun,” of
the Han dynasty (B.c. 202-a.p. 220), and intended to be passed around
during the ritual. The bird has its tail curved downward, and on its
back is a trumpet-mouthed vase. Besides the conventional suggestions
of feathers, and of the wings which are ornamented with frets, the
enamel decoration consists of archaic scrolls and various ornaments
copied from ancient bronzes, such as monster-heads, which are dis-
played on the breast of the dove as well as on the vase. Close of the
K’ang-hsi period, 1662-1722.
Height, 22 inches.
47. PILGRIM BOTTLE VASE. (Pao-yueh-p’ing.) Decoration of
peaches and pomegranates in red, green, yellow, and dark blue enamels,
on a turquoise-blue ground. The mark incised horizontally on the
under side of the lip, “Ching-t’ai nien-chih” (made in the reign of Ching-
tai, 1450-1456), is probably apocryphal, and, in that case, the piece was
made in the K’ang-hsi period, 1662-1722.
Height, 10% inches.
48. TEMPLE ALTAR VASE. (Kung p’ing.) . Pear-shaped, with
spreading mouth. Rudimentary monster-head handles with loose rings.
Cover with three small gilt upright rings. The vase is divided by hori-
zontal gilt bands into six sections, each of which is filled with a decora-
tion of ogre heads, floral motives, cloud forms and symbols, in red, blue,
and yellow (green and white being sparsely used) on turquoise-blue
ground. Ming dynasty, 1368-1643.
Height, 15% inches.
49. BOTTLE-SHAPED VASE. (Shui-p’ing.) With two dragon-head
handles on the neck. Enamelled on bronze with turquoise-blue and
[28
LV ‘ON
No. 49 [ 30
ANCIENT CHINESE CLOISONNES
decorated with symbolical bats amid a profusion of cloud forms, bands,
and borders of archaic scrolls and symbols, and other intricate designs,
in various colors of low tone. Cl’ien-lung period, 1736-1795.
Height, 15% inches.
50. OCTAGONAL GOURD-SHAPED BOTTLE. (Hu-lu-p’ing.) Dark
blue enamel ground; delicately wired designs of floral scrolls and fret
patterns. Cl’ien-lung period, 1736-1795.
Height, 914 inches.
d1. FLOWER VASE. (Hua-p’ing.) Slender baluster shape, with
decoration representing red and blue vases, alternating with flowering
plants and butterflies. Yung-chéng period, 1723-1735.
Height, 914 inches.
024. QUADRILATERAL VASE. (Fang p’ing.) With open-work re-
poussé gilt cover. Decoration of pomegranates, Buddha’s-hand fruit and
peaches, symbolical of the “three abundances,” in various enamels on a
pale turquoise-blue ground. On each side is a repoussé gilt panel show-
ing the Pa-chi-hsiang, or eight Buddhist emblems of happy augury,
surrounded by clouds. Cl’ien-lung period, 1736-1795.
Height, 91% inches.
53. INCENSE JAR. (Hsiang kang.) Short neck, with two gilt
dragon scroll handles with loose rings, and supported by figures of a
gilt goat and two gilt rams. The type of this specimen recalls Ming
porcelain vases, and it is from them that the gilt tassels hanging from
the shoulder band are copied. The decoration consists of water plants,
with herons and other water fowl, in enamels of various colors upon a
black ground, which is covered with a fret design in fine wires. Elabor-
ately carved teak stand. Yung-chéng period, 1723-1735.
Height, 14 inches.
d4. TRIPOD INCENSE BURNER. (Hsiang-lu.) Globular shape;
lion-head handles with loose rings; tall monster-head supports enam-
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AVERY. COLLECTION OF
No. 55
elled on bronze. The decoration consists of lotus flowers, bold leaf
scrolls and a border of sceptre heads in low tones of lapis-blue, India
red, and other enamels, on a pale blue ground. Era of Yung-chéng,
1723-1735. Height, 14% inches.
55. LARGE TEMPLE TRIPOD CENSER. (Kung-hsiang-lu.) Of
cloisonné enamel and gilt copper. The body is divided into vertical
panels, the lines of which are carried out into a spreading rim with
scolloped edge. The metal cover is of floriated design in elaborate open-
work, surmounted by a lotus ornament and Buddhistic symbols. Deco-
[ 34
ANCIENT CHINESE CLOISONNES
rated with emblems, symbolical bats, and other designs, in enamels of
low tones on a turquoise-blue ground. Carved stand. K’ang-hsi period,
1662-1722. Height, 20% inches. Diameter, 22% inches.
56. CHAMPLEVE ENAMELLED LANTERN. (Liu-teng.) Hexag-
onal shape, of open-work design in gilt bronze, with cylindrical base and
neck. On the four sides are inserted panels of intaglio glass, with de-
signs of quails and millet in lacquers and gilding. The corners are
panelled with decorated opaque glass. The prevailing enamels are
green and turquoise-blue. Ch’ien-lung period, 1736-1795.
Height, 12 inches.
57. BALUSTER-SHAPED JAR. (Hsiao kuan.) With bell-shaped
cover. The form, and decoration of gilt festoons, hung with pendeloques
from the slightly raised sceptre-head border, are copied from vases of
the early Ming period. The enamel decoration consists of “shou” char-
acters, diapers, symbols, and sceptre-head scrolls and gadroons, exe-
cuted in various colors, on a turquoise-blue ground. Carved stand.
Yung-chéng period, 1723-1735.
Height, 15 inches.
58. TALL BOTTLE-SHAPED VASE. (Fa-lan p’ing.) Bulbous pear-
shaped body, with tubular neck. Enamelled ground of pale turquoise-
blue, agreeably sustaining many kinds of flowers in detached sprays, and
light coloring, with foliage, the interspaces being scattered with small
cubes of gold. The base is surrounded by an ornate gadroon border.
Era of Ch’ien-lung, 1736-1795. Hehe ae anche.
59. BOTTLE-SHAPED VASE. (Hua-p’ing.) With slender spread-
ing neck, on which are two gilt dragon handles. On a turquoise-blue
enamel ground are four medallions containing flowers and palaces and
garden scenes in low tones. One of the panels has a European landscape
scene. The ground of the vase is covered with lotus scrolls, palmettes,
and archaic designs, in enamels of various colors. Yung-chéng period,
1723-1735. ; :
Height, 16 inches.
35 ||
ASNG
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37 | No. 59
ANCIENT CHINESE CLOISONNES
60. CHAMPLEVE BIBERON-SHAPED VASE. (Mei-p’ing.) Gilt
repoussé and enamelled in varied colors. The embellishment consists
of “shou” characters .of
longevity and “wan-sui”
(swastika) emblems _ of
myriad years alternately
represented, together with
bats, lotus flowers and bor-
ders of leaf patterns, scep-
tre heads, and key frets.
Clien-lung period, 1736-
1795.
Height, 10 inches.
61. TABLE SCREEN.
(Ch’a p’ing.) Panel of pale
green jade, mounted in a
cloisonne frame. On _ the
reverse side is a decoration
of chrysanthemum flowers
and a sumac-like bush,
carved in low relief. On
the obverse side is a poem
in antique script, engraved
and filled in with gold. The
translation of the poem is
as follows: “Dew wets a
fairy’s clothes and makes them heavy. Wind blows the fragrance of
golden grains. The sign of the moon shows an early autumn. At the
same time, we see five fragrant branches of white olive tree.” At the end
of the poem is a seal, with four characters. Ch’ien-lung period, 1736—
1795. Height, 101% inches; width, 5 inches.
62. OVIFORM VASE. (Hua-p’ing.) With broad tubular neck; gilt
bronze ogre mask handles with loose rings. All-over decoration of ar-
[ 38
0. 63
N
39 |
ANCIENT CHINESE CLOISONNES
chaic dragon scroll and key-fret (lei-wen) bands, with ogre eyes in lapis-
blue on a turquoise-blue ground. Carved stand. K’ang-hsi period,
1662-1722. Height, 17 inches.
63. GARDEN SEAT. (Liang-tun.) Temple drum shape. Lion-head
handles with loose rings; rows of gilt bosses near the base and the top.
Decoration of flying phoenixes (féng huang) and the flowers of the four
seasons, in enamels of harmonious colors on a turquoise-blue ground.
The top panel is decorated with lions sporting with the brocaded ball,
and Buddhistic symbols, in low tones. K’ang-hsi period, 1662-1722.
Height, 15% inches.
64. LARGE VASE. (Ta hua p’ing.) Globular body, with incurved
neck and spreading base. Decorated with archaic dragon scroll panels
on a ground covered with diaper, ogre-head, and sceptre-head borders;
palmettes and bats encircling the neck. The prevailing enamels are
green, red, and blue. Carved stand. Cl’ien-lung period, 1736-1795.
Height, 15 inches.
65. BOX IN SHAPE OF A PEONY FLOWER... (Kua wang ho.) Sup-
ported by entwined tendrils and projecting leaves. The petals are
enamelled in dark blue, with dull red border and green turned-over
edges. Ch’ien-lung period, 1736-1795. Height, 47% inches.
66. INCENSE BURNER. In form of a monster lion (tai chih) in gilt
bronze and cloisonné enamel; the prevailing color is dark green. The
eyebrows, ears, feet, broad tail, and the fire emblems, which envelop the
body, are finished in gilding. Carved teak stand. K’ang-hsi period,
1662-1722. Height, 17% inches.
67. TRIPOD INCENSE BURNER. (Hsiang-lu.) With loop handles;
enamelled with lotus designs and scrolls in red, blue, and yellow on tur-
quoise-blue ground. Carved teak stand. Cl’ien-lung period, 1736-1795.
Height, 2% inches.
[ 40
41]
AVERY -COLLE€CTION- OF
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i ih ee
lt at ait ai ze
oe
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ie ae
68. HEXAGONAL VASE. (Hua p’ing.) With spreading neck and
base. Each side has a panel decoration of conventional lotus flowers
and leaf scrolls, within borders of archaic dragon design. Around the
shoulder is a band of sceptre-head scrolls; all in typical enamels of the
period. Ch’ien-lung period, 1736-1795.
Height, 13% inches.
[ 42
ANCIENT CHINESE CLOISONNES
69. TRUMPET-SHAPED VASE. (Hua-ku-p’ing.) With gilt bronze
vertical, dentilated ribs. Lotus scrolls, archaic frets, palmettes, and
gadroons, in brilliant enamels on a turquoise-blue ground. Cl’ien-lung
period, 1736-1795.
70. DUCK-SHAPED INCENSE BURNER.
(Fu-tsun-lu.) With removable cover on the
back of the bird; lotus flower and leaves in its
bill. The prevailing enamels are green, brown,
blue, and white. Mounted on a repoussé gilt
base of wave design, with fabulous monsters
and dragons in relief. Yung-chéng period, 1723—
1735, or early Ch’ien-lung period, 1736-1795.
Height, 10 inches.
71. SACRED ELEPHANT BEARING A
VASE. (Hsiang-t’o-pas-p’ing.) Buddhistic altar-
piece. The body of the elephant (hsiang-tsun)
is white; the saddle cloth and harness are inlaid
with enamels and partly gilt to simulate jewels
and gold tassels. Two vases are carried on the
saddle, one above the other, the upper one being
double-gourd shape; they are decorated with
circular script characters and lotuses, and have
a pierced crown in the shape of bats whose
wings intersect. Carved teak stand. Ch’ien-
lung period, 1736-1795.
Height, 12 inches.
Height, 15% inches.
72. LANTERN. (Chi ting-i tui.) Pricket candlestick within a pen-
tagonal body, which has open sides and a calyx-shaped top. High bal-
uster stem. Decoration of floral motives and rectangular scrolls, in
enamels of various colors on turquoise-blue ground. Cl’ien-lung pe-
riod, 1736-1795.
43 ||
Height, 14% inches.
TZ “ON
0L ON
[ 44
ANCIENT CHINESE CLOISONNES
73. LARGE INCENSE BURNER. (Ta hsiang-lu.) The body is of
quadrilateral oviform shape, with sceptre-shaped handles and gilt
bronze monster feet. Deco-
ration of lotus flowers, leaf
scrolls, and ogre-head bor-
ders, in brilliant enamels
ona turquoise-blue ground.
The cover is surmounted
by an open-work gilt fin-
ial. Carved teak stand.
Ch’ien-lung period, 1736-
1795.
Height, 17 inches.
7A. PALACE ICE
CHEST. (Ping hsiang.)
Fashioned to hold block
ice to keep the air cool in
the summer season (see
Bushell’s “Chinese Art,”
Vol. II, page 80). Oblong
shape with four feet.
Bronze open-work top and No. 73
cover; the cover in designs
of clouds and dragons pursuing the “effulgent orb.” The wide projecting
flanges on the sides are enamelled with Buddhistic symbols of happy
augury, scrolls, and floral designs of extremely varied detail, in low
tones on turquoise ground. Below these flanges are copper sides with
repoussé scroll designs relieved by gilt peonies. K’ang-hsi period, 1662-
E722. 30 x 21 inches, 13 inches high.
75. FACE SCREEN. Painted Peking enamel; decorated with a
butterfly and a flowering shrub on which a bird is perched, in bright
colors on pink ground. Era of Chia-ch’ing, 1796-1820.
Diameter, 61% inches.
45 ||
[46
VL “ON
ANCIENT CHINESE CLOISONNES
76. QUADRILATERAL INCENSE BURNER. (Fang-hsiang-lu.) On
four flat dragon-shaped supports; with upright loop handles and den-
tilated ridges; cover with
open-work finial. Decora-
tion of “shou” symbols
and ogre eyes, surrounded
by archaic scrolls in enam-
els of various colors on
a turquoise-blue ground.
Elaborately carved teak
stand. K’ang-hsi period,
1662-1722.
Height, 15 inches.
ve TALL SQUARE
BEAKER. (Fang hua ku.)
With flaring neck; but-
tressed with eight vertical
dentated brass ridges. The
decoration, in hieratic
style, consists of ogre eyes,
dragon heads, scrolls, lotus
flowers and_ palm-leaf
bordering. Period of
Ch’ing-tai, 1450-1456, Ming
No. 78
dynasty.
Height, 23 inches; extreme diameter, 14 inches.
78. QUADRILATERAL INCENSE BURNER. (Hsiang-lu.) With
upright loop handles, gilt dragon ornaments, and dentilated gilt metal
vertical ridges. The open-work cover has four gilt panels of copper and
a cloisonné finial. The decoration shows cloud shapes of archaic char-
acter, ogre eyes, floral motives, and butterflies; executed in various
enamels, lapis-blue prevailing, on a turquoise-blue ground. Ch’ien-lung
period, 1736-1795. Height, 16 inches.
47 |]
ANCIENT CHINESE CLOISONNES
79. FLAT DISH. (Kuo p’an.) Of indented oval form. Enamelled
with conventional ornaments in white, red, dark blue, and yellow, on
turquoise-blue ground. Ch’ien-lung period, 1736-1795.
Size, 8% x 6% inches.
80. SMALL VASE, with saucer-shaped base. (Chih chien hsiang.)
For holding joss-sticks. Enamelled with medallions, scrolls, and floral
designs, in bright colors on turquoise ground. Ch’ien-lung period, 1736-
1795.
Diameter, 4% inches.
81. QUADRILATERAL INCENSE BURNER. (Fang-hsiang-lu.)
With vertical dentilated ribs, monster-head feet, and loop handles.
Simply decorated with ornaments copied from ancient sacrificial bronze
vessels, in enamels of harmonious colors, on a turquoise-blue ground,
which is covered with a wired fret pattern. Cover surmounted by a gilt
lion. Ch’ien-lung period, 1736-1795. HGiahe PEL auiok ss,
82. TALL BEAKER. (Hua-ku.) Slender cornet form, with trumpet-
like neck; fashioned in two sections and displaying four lateral (aréte)
dentated ridges on the sides. The cloisonné floral and scroll motives,
together with palm-leaf and fret border patterns, are picked out in light
enamel colors on a turquoise-blue ground. Bears engraved seal mark.
Era of Ch’ien-lung, 1736-1795. Heist) pierce,
83. PEAR-SHAPED VASE. (Hua p’ing.) With spreading base;
bronze lion-head handles with loose rings on the shoulder. The vase is
divided by floriated bands into five horizontal sections, which are filled
with lotus flowers and scrolls in enamels of low-toned colors on a pale
turquoise-blue ground. Carved teak stand. Ming dynasty, 1368-1643.
Height, 16% inches.
84. HANGING FLOWER BASKET AND STAND. (Lan-k’ung-
hsuan.) From the centre of a hexagonal pedestal rises a tall pillar
[ 48
T8 “ON
[ 50
ANCIENT CHINESE CLOISONNES
enamelled in green and covered with clouds in gilt bronze, surmounted
by a sacred pearl in gilt bronze and entwined by two five-clawed bronze
dragons partly gilt. The
flower basket, which
hangs from a dragon’s
claw, is decorated, like
the pedestal, with land-
scapes, river views,
flowers, and butterflies,
in enamels of various
colors on a_ turquoise-
blue ground. Carved
teak stand. Ch’ien-lung
period, 1736-1795.
Height, 36% inches.
85. LARGE TRIPOD
INCENSE BURNER. (Ta
hsiang-lu.) Of depressed
globular shape, with two
scrolling handles, and supported by three monster-heads of gilt bronze.
The cover has “ju-i” shaped open-work panels of gilt bronze, sur-
mounted by a gilt bronze elephant carrying a cloisonné vase on its back.
Floral decoration, with lotus scrolls of conventional design, in lapis-
blue, red, and other enamels on a turquoise-blue ground. Border of
palmettes and ogre heads. Carved teak stand. Ch’ien-lung period,
1736-1795.
No. 85
Height, 17 inches.
86. LARGE TRIPOD INCENSE BURNER. (Ta hsiang-lu.) Glob-
ular-shaped body with bold scroll handles, resting on legs with cloisonné
decoration surmounted by gilt bronze monster-heads. The cover has
three perforated gilt bronze panels of dragon-scroll design, and is sur-
mounted by a gilt bronze finial of open-work leaf pattern. The body is
covered with a conventional lotus design amid leafy scrolls. Around
51]
No. 86
[ 52
ANCIENT CHINESE CLOISONNES
the shoulder is a sceptre-head border and on the handles a “lei-wen”
fret and archaic scroll pattern. The enamels are in low-toned colors on
a light turquoise-blue ground. Carved teak stand, ornamented by
dragons inlaid in silver wire. Ch’ien-lung period, 1736-1795.
Height, 27% inches.
87. TEMPLE SHRINE. (T’ai she t’an.) Representing a form of gar-
den pavilion. Gilt bronze, with cloisonné and champlevé enamel. At the
corners of the slightly spreading quadrangular base rise four columns
entwined by dragons, supporting an elaborately decorated domed roof,
from the corners of which extend scrolls supporting bells. The decora-
tion consists of dragons, cloud forms, sacred flowers and scrolls, in gilt
bronze, and champlevé and cloisonné enamels, on a ground of low-toned
turquoise-blue. The shrine holds a seated figure in gilt bronze of a
Thibetan Bodhisattva, which is encrusted with semi-precious stones
and has a halo of flame design. Ch’ien-lung period, 1736-1795.
Height, 25% inches.
88. LARGE INCENSE BURNER. (Ta hsiang-lu.) Of hexagonal jar-
shape, with gilt bronze dragon handles and raised upon monster-head
feet of gilt bronze, enriched with cloisonné enamelling. The body is
enamelled with conventional arabesque and floral motives in varied
colors, framed by an archaic fret pattern in lapis-blue on a turquoise-
blue ground. The cover has open-work gilt bronze panels and finial.
Elaborately carved teak stand. Ch’ien-lung period, 1736-1795.
Height, 2014 inches.
89. LARGE INCENSE BURNER. (Ta hsiang-lu.) Of rounded quad-
rilateral form, on four tall feet of gilt bronze, in designs of monster-
heads, and with two gilt metal handles formed by the winged dragon
Ying-Lung. The cloisonné decoration of this imposing vessel consists
chiefly of conventional floral motives, emblems, and monster-heads.
The cloisonné cover is surmounted by a tall perforated gilt copper top
of floriated open-work design. Elaborately carved teak stand. Ch’ien-
lung period, 1736-1795. Height, 28% inches.
53 |
55 J
AVERY. COLLECTION OF
90. LARGE EWER. (Chiu-hu.) In form of an ancient Persian
golabpash and used as a rose-water sprinkler; with slender handle and
No. 90
spout supported by a dragon’s
head, of gilt bronze. The body
displays conventional lotus
blossoms and leafy scrolls, in
typical enamel colors on a
deep turquoise-blue ground.
The two sides have also circu-
lar panels, with separate Bud-
dhistic floral and fruit motives
(emblems of abundance), no-
tably the pomegranate and the
citron, known as “Buddha’s
hand” fruit. Ming . dynasty,
1368-1643.
Height, 1314 inches.
91. CABINET VASE. (Hua-
ping.) Pear-shaped, with dec-
oration of red and white lotus
blossoms together with deli-
cately colored arabesque scrolls
and leafage, on turquoise-blue
ground. Under the foot is a
gilt bronze tablet with incised
mark. Teak stand. Era of Cl’ien-lung, 1736-1795.
Height, 5% inches.
92, SMALL VASE. (Hsiao-p’ing.) For incense utensils. Baluster
shape; with turquoise-blue ground; decorated with borders in palm-leaf
and arabesque forms, together with the “pa-kua,” or eight mystical tri-
grams of divination. Era of Yung-chéng, 1723-1735.
Height, 51% inches.
L 56
ANCIENT CHINESE CLOISONNES
93. SMALL SQUARE BEAKER. (Fang-hu-ku.) The blue body is
decorated with archaic mask forms known as “tao-Vieh,” or gluttonous
ogres, in varied colors. Pointed leafage, in green enamel, encircles the
neck and base. Teak stand. K’ang-hsi period, 1662-1722.
Height, 3 inches.
94. SACRIFICIAL TRIPOD. (Ting-lu.) With small rudimentary
feet and rim handles. Decoration of conventional lotus flowers and
leafy scrolls in bright-colored enamels, including deep lapis-blue, on
turquoise-colored ground. The foot has an incised mark on gilt bronze
tablet. Carved teak-wood cover, surmounted by a small lapis-lazuli
ball. Teak stand. Ch’ien-lung period, 1736-1795.
Height, 714 inches.
95. CABINET VASE. (Hua-p’ing.) Baluster-shaped body with tur-
quoise ground, decorated with borders and archaic dragons in lapis-blue
enamel, together with star-shaped crests and scrolls in polychrome
colors. The neck is ornamented with angular archaic frets in lapis-blue
enamel, with scolloped green borders. Teak stand. Yung-chéng period,
1725 bio.
Height, 7 inches.
96. CABINET BOTTLE. (Hua-p’ing.) Pear-shaped, with lotus flow-
ers and leafy scrolls in light enamel colors, on a ground of turquoise-
blue. Under the foot is an incised inscription. Ch’ien-lung period,
1736-1795. Teak stand.
Height, 6% inches.
97. WATER BOTTLE. (Chui-p’ing.) Pyriform, with melon-shaped
upper section and spreading base. The body is decorated with conven-
tional lotus flowers and leafy scrolls, in varied enamel colors upon a
light green ground. Delicate wire cloison work. Yung-chéng period,
1723-1735.
Height, 11% inches.
57]
AVERY COLLECTION OF
98. SQUARE FLOWER VASE. (Fang p’ing.) Gilt copper and cloi-
sonnée enamel. On each of the four sides is a gilt repoussé panel with
landscape and figure work, bordered
with lotus flowers, and arabesque forms,
in polychrome colors on blue ground.
The neck and base are in gilt copper
open-work, with cloisonné enamel bor-
dering. Cl’ien-lung period, 1736-1795.
Height, 84 inches.
99. BUDDHISTIC SHRINE VASE.
(Dagaba, or t’a.) The body, in form of a
lotus thalamus, with light pink and white
enamelling, rests on a cloisonne stand,
and supports a small enamelled jar with
symbolic fillets, above which is the Bud-
dhist “kai” or canopy, which is sur-
mounted by the sacred “vadjra” emblem
in gilt bronze. Ch’ien-lung period, 1736-
Lge:
Height, 1214 inches.
100. CABINET BOTTLE. (Hua-p’ing.)
Pear-shaped body with slender neck;
See showing lotus flowers and leafy scrolls
No. 99 in light colors on turquoise-blue ground.
On the shoulder are borders in lance-
olated and leaf forms in various colors; the base is finished with a
foliated border in similar enamel colors. Teak stand. Ascribed to the
era of Ch’ien-lung, 1736-1795.
Height, 5 inches.
101. BOTTLE. (Shuang-p’ing.) Gilt bronze with cloisonné and
champlevé enamel ornament. Of intersecting double lozenge form,
[58
ANCIENT CHINESE CLOISONNES
with quadrangular neck and base. The intersecting panels show ar-
chaic motives in red on greyish-white ground, together with blue and
white dotted bordering. The angular sides are ornamented with small
lotus flowers and arabesque forms, in light enamel colors on turquoise-
blue ground. The base and neck are both finished in flowered diaper
designs. Teak stand. Clh’ien-lung
period, 1736-1795.
Height, 7 inches.
102. SMALL JAR WITH COVER.
(Ch’a-kuan.) Embellished with blos-
som designs in pink, white, and blue
enamels, on turquoise ground. Teak
stand. Ch’ien-lung period, 1736-1795.
Height, 3% inches.
103. CABINET VASE. (Hua-p’ing.)
The bulbous body is embellished with
conventional lotuses showing India
red and white enamel blossoms on
turquoise-blue ground. The tubular
neck shows a similar blue ground with
a coiled dragon amid floral scrolls in
light colors, and a narrow border in
red, yellow, and white. Teak stand.
Ming dynasty, 1368-1643.
Height, 614 inches.
104. VASE. (P’ing.) With angular gilt bronze handles at the neck.
The body is decorated with lotus blossoms and arabesque scrolls, in
light polychrome enamel colors on turquoise-blue ground. The neck is
encircled by a border of green palm leaves, and fhe shoulder has a
lanceolated band; other narrow borders, in varied enamel colors, finish
the base. Ch’ien-lung period, 1736-1795. Height, 6% inches.
59 |
AVERY COLLECTION OF
a 105. SCROLL VASE. (Tung-p’ing.) Cylin-
3 drical form, raised on six bronze feet. The body
30 a a is decorated with symbolic Buddhistic and Man-
Ce ees darin flowers, including the sacred lotus, chry-
santhemums, peonies, small magnolias and
plum blossoms, freely rendered in varied colors,
with green leafage, upon a ground of deep tur-
quoise-blue. The decoration is finished at the
base and rim by palm-leaf and lotus borderings,
in typical enamel colors and design. K’ang-hsi
period, 1662-1722. Height, 9 inches.
2 ne
106. SMALL TABLE-SCREEN. (Chia-p’ing.)
Teak-wood panel holding a nephrite (jade) tab-
let, with open-work carving of trees and two
deer; surrounded by a cloisonné enamel border-
ing in floral arabesque design on blue ground.
The reverse panel, in cloisonné enamel, shows
a typical Chinese landscape with arched bridge, pavilion, and trees.
K’ang-hsi period, 1662-1722. Height, 7 inches.
107. LARGE BOWL. (Wan.)
The exterior has a deep turquoise-
blue ground with conventional
lotus blossoms in lapis-blue, red,
and white enamel. On the interior,
with similar ground, are four wild
horses, with red flame-like appen-
dages, and a dark green wave mo-
tive. K’ang-hsi period, 1662-1722.
Height, 3%4 inches.
108. SACRIFICIAL TRIPOD.
(Ting-lu.) Of gilt bronze with cloi-
sonné enamel. Bowl-shaped, with No. 107
[ 60
ANCIENT CHINESE CLOISONNES
No. 106
three feet in the form of elephant heads, and two lon handles. The
body is decorated with conventional lotus blossoms in India red, on a
ground of deep turquoise-blue. Has an incised mark. Carved teak-
wood cover, with agate knob. Elaborately carved open-work teak
stand. K’ang-hsi period, 1662-1722.
Height, 5% inches.
61]
AVERY COLLECTION OF
109. TRIPOD CENSER. (Hsiang-lu.) Of globular shape, with
bronze dragon handles and three feet in form of elephant heads. The
body has enamelled archaic dragon medallions, containing the char-
acter “fu” (happiness), together with red and white lotus blossoms and
scrolling leafage on turquoise-blue ground. Gilt bronze cover in chased
open-work, surmounted by a small lion. Yung-chéng period, 1723-1735.
Height, 4%4 inches.
110. SMALL PERFUME BOX. (Yén-se-ho.) Gilt bronze, with
champlevé enamel decorations. The cover shows a floral panel with
blue fillets, and the side panels have archaic lapis-blue fret motives on
turquoise ground. Yung-chéng period, 1723-1735.
Height, 1% inches.
111. LARGE FRUIT DISH. (Ta-kuo-p’an.) The exterior and in-
terior are covered with white cloisonné enamel relieved by an elaborate
cloison wire design, with delicate floral arabesques, and including the
eight Buddhistic emblems (Pa-chi-hsiang) of happy augury. Ch’ien-
lung period, 1736-1795.
Height, 4% inches; diameter, 13 inches.
112. TRIPOD CENSER. (Hsiang-lu.) Low bowl-shaped form; the
exterior displaying rosettes and leafy scrolls in red, blue, and white on
[ 62
ANCIENT CHINESE CLOISONNES
turquoise-blue ground. Probably era of Chung-chen, 1628-1643, Ming
dynasty. Height, 2 inches.
113. TRIPOD CENSER. (Ting-lu.) Of globular shape, with gilt
bronze dragon-shaped handles. The body has a light turquoise-blue
enamelled ground, relieved by archaic dragons. in blue, together with
the “effulgent jewel of omnipotence” and cloud forms. Finished at the
shoulder with red and yellow dentated bordering. The foot has an in-
scription. Carved open-
work teak-wood cover
with lion top. Carved
teak stand. Ch’ien-lung
period, 1736-1795.
Height, 5 inches.
114. LARGE BOWL.
(Wan.) The exterior is
decorated with pinkish
lotus blossoms and green
leafage on a white ground,
and the interior has a similar treatment, with a lotus-pod panel. Yung-
chéng period, 1723-1735. Height, 314 inches.
No. 114
115. JARDINIERE. (Hua-p’en.) Gilt bronze, with champlevé
enamel. Of low quadrilobed shape, on which are pink lotus blossoms,
with blue and green arabesque leafage. The upper rim has an engraved
and gilt border in lotus design. Yung-chéng period, 1723-1735.
Height, 3 inches.
116. JARDINIERE. (Hua-p’en.) Of low quadrilobed form, raised
on four feet. The body is decorated with scrolling leafage in light colors,
including white blossoms, on turquoise-blue ground. The upper rim is
finished with a delicate floral border of similar design. Ch’ien-lung pe-
riod, 1736-1795. Height, 3% inches.
63 |
AVERY COLLECTION OF
117. TRIPOD CENSER. (Hsiang-lu.) Oviform body with angular
gilt bronze handles, and chimera-mask feet. The body has a delicately
wired cloisonné design with scrolling leafage and small red and pink
blossoms, on turquoise-blue ground. The cover combines cloisonné
enamel panels with gilt bronze open-work and finial. The foot has an
engraved seal mark. Teak stand. Ch’ien-lung period, 1736-1795.
Height, 6 inches.
118. TRIPOD CENSER. (Hsiang-lu.) Bulbous body with upturned
handles and three rudimentary feet, which are in the form of blossoms
enamelled in red. The surface is decorated with white phceenix (féng-
huang) birds, amid red and white blossoms, on turquoise-blue ground.
The cover shows green leafage and a red border on white ground, with
wired diaper pattern. Carved ivory stand. Clien-lung period, 1736-
1795.
Height, 3 inches.
119. SMALL BOTTLE. (Mei-p’ing.) Gallipot shape, with flowers
and butterflies in light enamel colors on deep blue ground. Teak stand.
Chia-ch’ing period, 1796-1820. ; ;
Height, 2% inches.
120. TRIPOD URN. (Hsiang-lu.) The body, with two dragon han-
dles and three archaic feet in light bronze, has a floral decoration in
light enamel colors on turquoise-blue ground and a dark green serrated
border. Modern enamel cover. Teak stand. Cl’ien-lung period, 1736-—
1795. ; ’
Height, 4% inches.
121. TRIPOD CENSER. (Hsiang-lu.) Bulbous body with cloisonné
feet and upturned handles. Decorated with conventional arabesques
and lotus blossoms, in delicate enamel colors on turquoise-blue ground.
Cover in gilt bronze chased open-work, in design of dragons and cloud
forms. The foot has a bronze tablet with mark. Teak stand. Cl’ien-
lung period, 1736-1795.
Height, 6 inches.
[ 64
ANCIENT CHINESE. CLOTISON NES
122. TRIPOD CENSER. (Hsiang-lu.) Bulbous shape, with upright
handles. The decoration, on turquoise-blue ground, includes a series
of small lotus-flower medallions in deep blue, and the remaining sur-
face is filled with arabesque scrolls and borderings in bright enamel
colors. On the under side is a gilt bronze tablet with incised marks.
Ch’ien-lung period, 1736-1795. : ;
Height, 34% inches.
123. STAND. (Chien.) Of gilt bronze with champlevé enamelling.
Oblong shape, with arabesques and swastika fret bordering in brilliant
green and blue enamels. The gilt top is finished with a small red enam-
elled and gilt rail. Ch’ien-lung period, 1736-1795.
Height, 3% inches.
124. CABINET JAR WITH COVER. (Hsiao kuan.) Gallipot shape,
with grotesque mask handles and pendent rings, in gilt bronze. The
decoration, on turquoise-blue ground, shows symbolic fruits in light
enamel colors, including peaches (tao) and “hand of Buddha” citrons,
both of which allegorically signify longevity for the possessor. A red
and green scolloped bordering finishes the base and neck. Teak stand.
Ch’ien-lung period, 1736-1795.
Height, 6% inches.
125. SMALL BRAZIER. (Tung-chiang.) Gilt bronze, with cloisonné
enamel. The bowl and cover show an arabesque decoration, with bats,
in red and other bright enamel colors, on turquoise-blue ground. The
central section, of low cylindrical form, is of bronze open-work in scroll
designs alternating with “fu” characters, signifying happiness. Ch’ien-
lung period, 1736-1795.
Height, 5% inches.
126. LARGE BUDDHIST SCEPTRE. (Ju-i.) Painted Peking
enamel, with silver filigree setting. The decoration, in brilliant blue
1A curved wand terminating in a “ling-chi” (emblematical fungus) or trefoil
leaf at the upper end, and with a smaller incurved leaf finishing the lower end.
Usually fashioned in jade or other valuable material. In old Buddhist paintings
the ju-i is usually placed into the hands of priests as emblems of their rank.
65 |
AVERY. COLLECTION :OF
and green enamel painting, includes
raised figures in various groups, on
silver-meshed filigree. These repre-
sent the “eight immortals,” or company
of genii, known as the “Pa Hsien.”
The taoist triad, Shou, Fu, and Lu, or
star gods of “longevity,” “happiness,”
and “rank,” are pictured upon the
upper trefoil head (derived from the
sacred mushroom). Below these (on
the wand proper) appear four small
tablets displaying separate enamelled
characters forming the words ‘“‘Yi P’in
Tang Yueh-hsuan” (the meaning is
enigmatical). The wand was probably
made as an “ex voto” offering for a
leading city dignitary to be used at
state ceremonies. Cl’ien-lung period,
1736-1795.
Length, 22 inches.
127. INCENSE BOX. (Hsiang-ho.)
Round shape, with turquoise-blue
enamel ground; showing arabesque
scrolls and Buddhistic emblems known
as the “Pa-chi-hsiang,” in polychro-
matic coloring. The cover includes a
gadrooned centre in rosette form.
Teak stand. Ch’ien-lung period, 1736-
1795.
Height, 3% inches.
128. COVERED BOWL. (Wapn-
erh.) Painted Peking enamel on
copper. The exterior is decorated
with floral motives in various colors
[ 66
ANCIENT CHINESE CLOISONNES
on a ground of brilliant blue. The interior shows a circular “shou”
mark of longevity, together with five bats, or “wu-fu,” typifying super-
lative happiness and blessings. Ch’ien-lung period, 1736-1795.
Height, 3% inches.
129. LARGE FRUIT BOWL. (Kuo-p’an.) Cloisonné and champlevé
enamel. In form of a large lotus leaf, in varied green enamels of natural
No. 129
colors. The long curling stems, forming the base, also support a lotus
flower with white petals and pinkish tips, a seed pod, and a curling leaf.
Chl’ien-lung period, 1736-1795. Height, 8 inches; diameter, 15 inches.
67 J
AVERY COLLECTION OF
130. INCENSE BOX. (Hsiang-ho.) Decorated with conventional
lotus flowers in bright polychrome colors on turquoise-blue ground.
Teak stand. Ch’ien-lung period, 1736-1795.
Height, 214 inches.
131. TRIPOD CENSER. (Hsiang-lu.) The body, with rudimentary
pointed feet and rim handles, shows conventional lotus flowers with
arabesque scrolls, in bright colors and fine wire-work, on blue ground.
Open-work silver cover with two attached jadeite rings. Has a gilt
bronze tablet on the under side with an engraved mark. Teak stand.
Cl’ien-lung period, 1736-1795.
Height, 2% inches.
132. HANGING JAR. (Kuo-ch’i-yu.) The enamel decoration in-
cludes conventional lotus flowers and leafy scrolls in polychrome colors
on chocolate-brown ground, together with a bordering of “t’ao-tieh yen”
(archaic ogre masks) outlined on yellow ground, followed by a row of
pointed leaves in like colors. The piece is suspended within a carved
teak stand. There is an engraved mark under the foot. Era of Tao-
Kuang, 1821-1850.
Height, 614 inches.
133. MINIATURE VASE WITH SAUCER-SHAPED BASE. (Chih
chien hsiang.) For holding joss-sticks. The vase and the exterior
border of the dish show red and white floral blossoms, with deep blue
scrolls, on turquoise-blue ground. The interior of the tray is decorated
with four yellow medallions displaying deep lapis-blue dragons, on a
ground of turquoise-blue. Era of K’ang-hsi, 1662-1722.
Height, 1%4 inches.
134. TRIPOD CENSER. (Hsiang-lu.) Globular body with gilt
bronze open-work cover and upturned handles; decoration of conven-
tional dragons in deep lapis-blue on turquoise-blue ground. Teak stand.
Era of Ch’ien-lung, 1736-1795.
Height, 5 inches.
[ 68
ANCIENT CHINESE CLOISONNES
135. INCENSE BOWL. (Hsiang-wan.) With wired cloison fret pat-
tern on green ground. Gilt bronze base and rim. Teak-wood cover in
form of a lotus leaf. Era of Ch’ien-lung, 1736-1795.
Height, 3% inches.
136. INCENSE BURNER. (Hsiang-lu.) Of cylindrical shape, raised
on three feet, with gilt bronze ridges at the base and rim and around the
centre. Enamelled with conventional lotus flowers and scrolling leafage
in varied colors on turquoise-blue ground. On the under side is an in-
cised mark. Ch’ien-lung period, 1736-1795.
Height, 3% inches.
137. TRIPOD INCENSE BURNER. (Hsiang-lu.) Of semi-globular
shape, raised on three gilt bronze legs with grotesque masks. The bowl
displays a festooned design in bright enamel colors on blue ground.
Persian etched brass cover. Teak stand. Ch’ien-lung period, 1736-1795.
Height, 3% inches.
138. COVERED BOWL. (Kai-wan.) Globular shape, with blue
ground. Enamelled with five symbolic bats (“wu-fu”’) and with flowers
and leafage, in bright polychromatic coloring. Cover with bat and
flower motive of similar design. Ch’ien-lung period, 1736-1795.
Height, 34 inches.
139. INCENSE JAR. (Hsiao-yi.) Octagonal shape. Cloisonné and
champlevé enamel; displaying green enamel panelling with scroll de-
signs in polychrome enamel colors; finished with key-fret borders in
dark lapis-blue on turquoise-colored ground. Teak-wood cover, carved
in open-work design. Teak stand. Ch’ien-lung period, 1736-1795.
Height, 31% inches.
140. TRIPOD CENSER. (Hsiang-lu.) Globular shape with gilt
bronze feet, and cover with open-work scrolls and “shou” emblems.
Teak stand. Ch’ien-lung period, 1736-1795.
Height, 5% inches.
69 |]
ANCIENT CHINESE CLOISONNES
141. SMALL VASE. (Hsiao-p’ing.) For incense utensils. Oviform
body with flaring neck and small grotesque “fu” or lion handles. The
body has a bright turquoise-blue ground on which are displayed yellow,
red, and white blossoms, with scroll-
ing green leafage. The shoulder is
encircled by an India-red scolloped
border. Under the base is an en-
graved mark. Teak stand. K’ang-
hsi period, 1662-1722.
Height, 414 inches.
142. INCENSE BOX. (Hsiang-
ho.) Of round depressed form. The
enamelled decoration shows a lapis-
blue medallion, together with ara-
besque motives in bright colors on
blue ground, and is finished by an
arabesque and blossom border. On
the under side are incised marks.
Teak stand. Ch’ien-lung period, 1736-1795. Height, 1% inches.
143. MANDARIN HAT STAND. (Mao-chia.) Painted Peking
enamel on copper. Four upright “ju-i’-shaped sceptres are joined in
the middle and attached to a permanent base. The piece is finished at
the top with a small round box for perfume. The whole is coated with
brilliant blue enamelling and delicately decorated with floral arabesques
and “shou” characters, or dedication marks, in red, which appear on the
cover of the box, and also on the four sceptre heads. Ch’ien-lung pe-
riod; 1756-1795. Height, 1414 inches.
144. LARGE SCREEN PANEL. (P’ing feng.) Of oblong shape,
showing a typical Chinese landscape on a ground of mazarin blue, with
[70
ANCIENT CHINESE CLOISONNES
figures, pavilion, bridge, hills, and conventional cloud forms, executed in
picturesque style and with a delicate brass wire outlining. Ch’ien-lung
period, 1736-1795. Height, 18 inches; width, 25 inches.
No. 143
145. INCENSE BOX. (Hsiang-ho.) Embellished with arabesque
motives in bright colors on turquoise-blue ground. On the under side is
an engraved mark. Teak stand. Ch’ien-lung period, 1736-1795.
Height, 2 inches.
[72
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